Wales

What aspects of your cultural heritage are you most proud of or interested in?

What aspects of your cultural heritage are you most proud of or interested in?

Right now, I am quite interested in (re-) learning the Welsh Language. Although I was born in Wales, I was never allowed to speak Welsh at home and my parents sent me to schools in which Welsh was never seen nor heard, let alone taught. That didn’t stop me from hearing out on the streets, reading it on the street signs, or visiting places whose names were only available in Welsh, or an Anglicized form of Welsh.

I am no longer an assiduous student of languages, but I get a Welsh Word a day by e-mail, and each word comes with an explanation of meaning and extended meanings. I also receive the words’ pronunciation and its phonetic changes (something peculiar to Welsh – they come in written form and can be quite complicated). Useful sentences are added – not long, but 3-4 seconds, repeatable ad infinitum, by reliable Welsh speakers, who often offer the variant pronunciations not only of North and South Wales but of other regions as well.

A great deal of linguistic and cultural history is wrapped up in language and the origins of the word are analyzed – sometimes going back to Indo-European, proto-Welsh, Medieval forms, and modern changes to the language. Emphasis is also placed on the survival of Welsh and its preservation, in written form, in Y Beibl Cymraeg, The Bible in Welsh. This fixed the language and helped enormously in its preservation.

I am also interested in Welsh Songs and Hymns. I already know most of the tunes having sung them in English during my childhood. Now I am learning them in Welsh and am currently working on the words to Calon Lan, one of my favorite hymn tunes. So, there you are. A new start at a very advanced age. A return to the past and an investment in the unknown future!

Love in Old Age

Love in Old Age

How do I love you? Let me count the ways.
I love you when together we start to write
for although you’re sometimes out of sight,
you’re never out of mind. So many days

we’ve spent sitting together at keyboards, tapping
at computer keys. Is this the way to please
each other, a choosing of words, a squeeze
of meaning into a smaller space, with overlapping

metaphors and images improved in ways
we never would have dreamed of? Each
to his or her own, we say. Yet we reach
out to each other over time and space,

not joined at hip or lip, but with energy and zest,
sailing similar seas, and trying our very best.

Commentary:

A Golden Oldie, the poem more than the painting. Moo is more up to date than me. He also thinks my beloved and I sit side by side, or at opposite sides of the table, gazing at each other, but not saying much. Hence his choice of cartoon – The Sound of Silence.

“Each to his or her own, we say. Yet we reach out to each other over time and space.” Sometimes silently, often with words. Silence is best – because as my hearing goes, what I hear is a mumble – like the rumble of the old Mumbles Railway – does anybody else remember that? The result of the overheard mumble is an inelegant ‘Eh?’ Too many ‘ehs’ spoil the silence. Don’t they, eh? What’s that you say, eh?

So, I am now having great fun reading a new word a day in Welsh. What a joy to pursue the language that was forbidden when I was a boy. I don’t have anyone to talk to, but that is beside the point. Reading, remembering, the old place names still there at the tip of the tongue – Brynhyfryd, Rhosili, Pwll Ddu. Each name brings with it a visual memory, usually silent, but sometimes filled with the cries of sea-gulls and the growling of corgis defending their territories. Whatever – what joy!

Sweet Dreams

Sweet Dreams

Amnesia survives in these amniotic waters,
moving in time to the water pump’s heart beat.
I close my eyes and dream. Nothing is the same.

Do I drift dreamily or dreamily drift?
The bath-tub’s rose-petals bring memories –
primroses, bluebells, cowslips, daffodils dancing

beneath the trees in Blackweir Gardens,
or beside Roath Lake, where I biked
on gravel paths so many years ago.

Photos float before me, pictures of moments
I alone recall. Spring in Paris, the trees
breaking into bud along the Champs-Élysées.

Santander in summer, walking the Piquío
as it slumbers beneath the jacarandas.
One winter in Wales, up in Snowdonia,

I ran down a valley between high hills,
on a freezing night, with only the stars
to keep me company, so cold, I nearly froze.

Autumn at the Peace Park in Mactaquac,
with leaves reflected in the head pond.
Or the Beaver Pond with its fall orgy

of gaudily painted trees, leaves drifting down
on this first chill wind, to settle like tiny,
colorful birds in my beloved’s hair.

I remember the look in her eyes when
I caught a falling leaf and put it in
her pocket, telling her to save it,
like a falling star, for a rainy day.

Carved In Stone

Carved in Stone

Brief Introduction

“Poetry explains itself. If it doesn’t, it’s inexplicable.” Pedro Salinas.

I entered this collection of poems for the Alfred G. Bailey Awad (poetry manuscript), WFNB, 2025. Alas, it did not win an award, but the judge, Kathy Mac, made some excellent suggestions as to how I might improve the manuscript. I have followed her advice to the best of my ability.

Carved in Stone is the second dialog (Chronotopos II) in my Bakhtinian Dialogs with my time and my place. Clepsydra, Chronotopos I, won third place in the Bailey Award (2025) and has already been published. I have one, possibly two, more Dialogs planned.

Reception Theory – I write, you read. Any meaning that you extract from my poetry will depend on your own culture and background. Tolle, Lege – Take and read. Read slowly, and with care.

I am a poet, a dreamer, if you will. These are my dreams. When you enter my world, you mingle your dreams with mine. The result, I hope, will be an interesting intellectual blend of new creativity. Pax amorque.

1

Behold me here,
filled with a sort of shallow,
hollowed-out wisdom
accumulated over decades
while listening with my eyes
to the words and thoughts
of writers, long-dead.

Imprisoned in book pages,
do they bang their heads
against walls that bind,
or hammer with their fists
at the barred lines
of their printed cages?

These spirits long to break free,
but they choke on library dust
and pollen from verbal flowers
that bloom unseen.

Those old ones avoided
the traps of temporal power,
or, once trapped,
gnawed off a precious limb
to limp into freedom.

Comment:
The cover painting, painted for me by my friend Moo when he read the manuscript of this book, is called Coal Face. It refers to the young Welsh boys in the Rhondda coal fields, aged 8-12 years old, who went down the mines to work at the coal face. This happened when the coal seams grew thin and only small children had the ability to work at the coal face and carve and mine the coal. Here are the relevant verses (44 – 45).

44

The old man, withered,
last house on the left,
leaning on his garden wall,
coughing, spitting up
coal dust and blood.

He’s not old, when you get close,
just grown old, underground,
where emphysema
and pneumoconiosis
devour men and boys.

He spits on the side walk.
Mining souvenirs,
Max Boyce calls them,
and they appear
every time the young man,
turned suddenly old,
starts to cough.

He can’t walk far,
wearing carpet slippers,
soft and furry,
just leans on the wall.

He fell, or was pushed,
into the trap at an early age,
when the coal seams
had grown so thin,
that only a small boy
could kneel at the coal face
before the black altar
of the underground god.

There, with a pick and shovel
he learned to carve and shape
those seams.

45

No candles burned at that altar.
A single match, let alone
a candle flame,
would spell the end,
if gas leaked from the seam.

Only the canaries,
confined in their cages,
sang songs.

Doomed,
like the blind pit ponies,
never to see the light of day,
they lived out their lives
down there.

So many died underground,
unable to get out,
buried alive,
before they were even dead.

Which food, when you eat it, instantly transports you to childhood?

Daily writing prompt
Which food, when you eat it, instantly transports you to childhood?
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Which food, when you eat it, instantly transports you to childhood?

That’s an easy one – diolch yn fawr / thank you very much – and the answer is Bara Lawr / laverbread of course.

What does laverbread taste like? I must thank Wikipedia for the answer below.

Welsh Laverbread (PDO) | Business Wales - Food and drink

Welsh Laverbread is made from cooked laver (seaweed) which has been plucked by hand from the Welsh coastline. It has a unique texture and salty flavour which provides a taste of the fresh, Welsh sea. Laver or Laver porphyra umbilicalis is the only seaweed which is only one cell thick.

And click on the link for a video from YouTube on the Traditional Welsh breakfast.

Laverbread could be found all around the Gower Peninsula in my childhood. When I was very young, you could buy it at Swansea Market for three pence a pound. Later, the price went up to sixpence a pound. When I lived in Cardiff, back in the early sixties, it sold at a pound per pound. Later, as the coast around Wales became more and more polluted, the sea weed had to be imported from the West of Ireland, and that certainly drove the price up – five pound a pound in the eighties.

But laverbread has two histories – the scientific / culinary one, and the personal one. Laverbread, on the plate, looks suspiciously like a cowpat. So much so, that when the cows visited the bungalow field where we had our summer home, the cowpats were called laverbread. “Don’t step in the laverbread, dear.”

Field rolling was a childhood joy. Start at the top of the slope and roll all the way down to the bottom. Born and bred in a laverbread field, we would plot our route between the patties before we rolled. Alas, our London cousins, with their cockney accents, were city and street wise, but not laver bread wise. Down the field they rolled, without looking, right through the laverbread patches. I leave the ensuing scene to you imaginations – and remember that the bungalow had no electricity in those early days, and no running water.

I remember the first day my beloved came to visit us at home. My mother served her fresh hot laverbread. Of course, she had never seen anything like it, except genuine Somerset cowpats. She picked around her food, left the laverbread on her plate until it cooled and – “Hold on a moment,” said my mother, “your laverbread’s cold. Here – I’ll warm it up for you.” Poor Clare. I am ashamed to say, I ate her helping while my mother was looking elsewhere – just devoured the extra portion, enjoying every moment, and Clare was so happy to see it disappear.

Here, in New Brunswick, while Clare was away one weekend, Becky and I decided to make laverbread from dulse. We followed the recipes and they worked. The laverbread was delicious – but – ah yes, there’s always a but – but the house stank of the sea shore at low tide and the first thing Clare said when she got home was – “What is that awful smell?”

I remember, opening a closet to get a clean shirt, about six weeks later, and that familiar whiff of the seashore immediately assaulted my nostrils. Alas, Becky and I love our laverbread, but -there’s that word again – but making it in our house long been banned.

Kipper Kapers

Kipper Kapers

Old Welsh Intelligence Test Question: “Does a kipper swim folded or flat?”

5-4-3-2-1 –
Time’s up, Ladies and Gentlemen.
So – what’s your answer?

Yes? No? Maybe? I don’t know?
It’s a trick question of course / wrth gwrs. And Kippers can play tricks on you too as they flipper and flapper, and flip and flop. Especially if you eat them late at night.

So this is a painting of a midnight Kipper Kaper Attack, when you want to sleep, but can’t, because you don’t know the answer to the kipper IQ test and all those little kippers are capering around and making fun of you and mocking you.

How do you avoid a Kipper Kaper Attack when the bad dreams start and the Kippers Kaper? Well, you answer this next Welsh IQ test question. “Adam and Eve and Pinch Me when down to the river to swim. Adam and Eve got drowned. Who do you think was saved?”

And if you answer “Pinch Me!” Then I will, and when I do, you’ll wake up, and you’ll be safe from another Kipper Kaper attack until the next time you eat them.

There – simple isn’t it?

Doubts

Doubts

At midnight,
when that dark owl calls,
I sip a bitter wine.

The thoughts I think
are not my thoughts,
how could they ever
be mine?

And yet they are
the thoughts I think,
and round and round
they twine.

They wrap me in
a thousand threads
and none of them
are mine.

Whose are they then,
these thoughts I think?
They do not come from me.

And yet they make me
double think
this person that is me,
and who I am,
and what I am,
and where I’m going to be.

Comment:
I guess that’s what happens when you finish your bottled sunshine (sol embotellado) before going to bed. The painting and the poem match up nicely though, ribbons of dark thought streaming through an empty head. Guessing and double-guessing, thinking and double-thinking, doubting and finding yourself inside that great cloud of unknowing in which you rarely know where you are going. Still, if you don’t know where you are going, any road will take you there. Pen-y-Bont, anyone? Or Abertawe, Cas Newydd, Llandeilo, Caerfili, Rhiwbina, Treorci, Trebanog …

Magnolia

Magnolia

She stands there, at the garden gate, waiting for me.
I can see the scene, the flower beds, the magnolia
bleeding, in Wales, its soft, spring snow of ivory pearls.

Some fall on her head, crowning her with a beauty
more precious than frankincense or myrrh. Petals
also perch their pure, ermine cape on her shoulders.

She walks towards me, eyes shining, arms open.
Then, the vision fades and she drifts away, leaving me
alone, my face bathed in the tears of her passing.

For pass each other by, we did. Ships in the night,
trains rushing through a tunnel of darkness, bathed,
for an instant, in the constellation of a station’s light.

Now, when I try to go back and to recreate that scene,
I find an empty garden, fallen leaves, and winter’s cold.

Comment:
I have been struck recently by the number of published articles that speak of post-Covid loneliness and the difficulties of re-establishing old friendships that fell by the wayside, let alone establishing new ones. It seems to get harder and harder, as we age, to leave our post-Covid isolation, to get out of our new comfort zones – sometimes so limited and limiting – and to make new friends. As we age, our minds go backwards and we return to earlier days and happier memories. Yet all too often those memories are tinged with the sepia sadness of old photos, from a non-digital age, faded and stained.

What aspects of your cultural heritage are you most proud of or interested in?

Daily writing prompt
What aspects of your cultural heritage are you most proud of or interested in?
View all responses

What aspects of your cultural heritage are you most proud of or interested in?

This dragon is not a dragon, well, it’s not a Welsh Dragon anyway. So, let us change the question – What aspects of your cultural heritage are you least proud of? Now that changes the perspective totally. I guess that I am least proud of the fact that, although born in Wales, I was never allowed to speak Welsh as a child. I speak with an English accent because I was sent to school in England so I wouldn’t even speak English like a person born in Wales. I am not proud of that aspect of my cultural heritage.

But I am proud of one little thing that stems from that Welsh cultural heritage – learning how to speak Welsh in my old age. It’s not easy to do that, here in Canada, but the internet carries many blessings, one of which is the learning of ‘foreign’ languages. Strange that Welsh should be considered a foreign language for somebody born in Wales. Something else not to be proud of, I suppose. Here’s my story.

Here I sit, an old man now, in front of my computer, learning at last my mother tongue, Welsh. I have discovered the beauty of simple words, not so much their meaning as their sound, the way they flow, the poetry of remembered rhythms: Cwmrhydyceirw, the Valley of the Leaping Stag, though legend has it that ceirw was really cwrw, and cwrw is beer, and its real name was the Valley of the Brown Stream Frothing like Beer.

Words have their own music, even if you cannot pronounce them properly: Mae hi’n bwrw glaw nawr yn Abertawe / it’s raining now in Swansea. Mae’r tywydd yn waeth heddiw / the weather’s worse today. Bydd hi’n dwym ddydd Llun / it will be warm on Monday. Place names also have their own magic: Llantrisant, Llandaff, Dinas Powis, Gelligaer, Abertawe, Cas Newydd, Pen-y-bont … Meaning changes when you switch from one language to another:  gwyraig ty / a housewife, gwr ty / a househusband, a concept of equality that has ruled Welsh lives since long before Julius Caesar invaded Albion, coming from Gaul with his legions in 55 BC.

The photographer asks me to smile. He wants me to say ‘cheese’ so I say it in French [fromage], then Spanish [queso], then Italian [formaggio]. “No, no, no,” he shakes his head. “I want to catch the real you. Try again.” So I say it in Welsh [caws]. He checks the memory card in his camera and looks puzzled.

“Your facial expression changes each time you speak a different language,” he tells me. “Please, won’t you just say ‘cheese’ in English? I want the real you.”

French, Spanish, Italian, then Welsh: all different and he wants the real me. Each language carves a new a map into my face.  Am I a clown, then, a comedian, a chameleon to wear so many masks and to slip so easily from one to another? And who am I, this stranded immigrant, marooned on a foreign shore that has finally become my home? Who or what is the real me?

“Cheese!” I say in desperation. “Got it,” he grins. “At last, I have captured the real you.”

Coal Face

And Every Valley

And every valley shall be filled with coal.
And the miners will mine, growing old
before their time, with pneumoconiosis
a constant companion, and that dark spot
on the grey slide of the sidewalk a mining
souvenir coughed up from the depths
of lungs that so seldom saw the sun
and soaked themselves in the black dust
that cluttered, clogged, bent and twisted
those beautiful young bodies into ageing,
pipe-cleaner shapes, yellowed and inked
with nicotine and sorrows buried so deep,
a thousand, two thousand feet down,
and often so far out to sea that loved ones
knew their loved ones would never see
the white handkerchiefs waved, never
in surrender, but in a butterfly prayer,
an offering, and a blessing that their men
would survive the shift and come back
to the surface and live again amidst family
and friends, and always the fear, the pinched
-face, livid, living fear that such an ending
might never be the one on offer, but rather
the grimmer end of gas, or flame, or collapse,
with the pit wheels stopped, and the sirens
blaring, and the black crowds gathering, and
no canaries, no miners, singing in their cages.

Comment: A friend wrote to me about the closing of the pits in Nottinghamshire and how the mining communities had suffered, were still suffering, and might never recover. This poem is the first one in a sequence on the mine closures in South Wales and other mining communities. Poems For the End of Time – the book is available here.